走向「無形但真實的大象」：論楊小濱《蹤跡與塗抹：後攝影主義》

Towards the“Invisible yet Real Great Image”: A Study on Yang Xiaobin’s Traces and Smudges: Post-Photography

抽象詩接受了抽象藝術的影響，嘗試在作為語言藝術的詩歌內部開拓新品項。楊小濱是中文抽象詩的先行者之一，自許德民建立中文抽象詩的理論後，他實驗的是如何克服隨機性，跳脫理性與非理性、具象與抽象的二元對立，尋求真正能夠引發精神振顫的抽象詩學，以及如何將它與廣闊的抽象藝術形成連結、建立對話。楊小濱善用其一貫的詩歌筆法，深入到能指對話語的偏離與勾連之中，又受到拉岡精神分析理論的深刻影響，逐步形成了具獨特的實踐風格與理論色彩的個人化抽象詩學。透過解讀楊小濱的創作路徑，可以發現，抽象詩的「塗抹」有別於其他後現代詩的「書寫」，它借助能指進行換喻，折射出的是個體的精神世界與內在創傷。而從創作到閱讀，那附著在文字之上的理性、以及能指所依托的語言系統沒有被取消，反而成為抽象詩創作的場域、讀者閱讀時展開聯想、追憶的空間。且抽象詩既非取消閱讀，亦不是隨意理解皆可，對抽象詩學的探討也是對抽象詩的再次激活。

Abstract poetry, influenced by abstract art, explores new possibilities in poetry as a language-based art form. Yang Xiaobin is a pioneer of Chinese abstract poetry. Following Xu Demin’s theory of Chinese abstract poetry, Yang experiments with overcoming randomness, breaking the binary oppositions between rationality and irrationality, concrete and abstract, as well as aiming to evoke profound spiritual resonance. He establishes a dialogue between abstract poetry and the other abstract arts. Through his consistent poetic approach, his dive into the connected deviations between signifiers and discourses, and Jacques Lacan’s psychoanalytic theories, Yang has gradually formed a personalized abstract poetics with unique styles and theories. By analyzing Yang’s writing strategies, we can find that the“scrawling”in his abstract poetry differs from the“writing”in other postmodern poetry. It employs metonymies so as to reflect the spiritual world and inner traumas. From creation to reading, the rationality attached to the words and the linguistic system on which the signifiers rely are not negated. Instead, they become the field of creation and the space in which readers engage in free associations. Abstract poetry neither cancels reading nor allows arbitrary interpretations. The exploration of abstract poetics is a way to activate abstract poetry once again.